Hi, everyone!
Today is the birthday of one of the most influential directors of all time — the one and only Alfred Hitchcock!
In honor of this day, here’s a video that I found on YouTube. This video, which was put together by Will Erickson so please give all credit to him, claims to feature every single cameo appearance that Hitchcock ever made!
Watch it below:
Oh my God, do y’all want to see a really great film?
Then you need to do what I did earlier tonight. You need to sit down and watch Martin Scorsese’s 1983 media satire, The King of Comedy.
Want to know more about The King of Comedy? Then read on! But be aware that there are spoilers in the review below!
The King of Comedy tells the story of … well, it actually tells the story of several people. On the one hand, it’s the story of Jerry Langford (played by Jerry Lewis, who gives a performance that is so good that you might even forget that he directed The Day The Clown Cried), a comedian who has his own late night talk show. Jerry is a celebrity, the type who is mostly famous for being himself. He makes his living by interviewing people at night but, in his daily life, he struggles to interact with the world at large. Whenever Jerry steps outside, people start yelling at him. When he walks away from one elderly fan, she responds by screaming insults at him. If Jerry seems to be paranoid, it’s because he has good reason to be.
For instance, Masha (a chillingly unhinged performance from Sandra Bernhard) is obsessed with him. When we first see Masha, she is jumping inside of Jerry’s limousine and refusing to leave. When she finally gets a chance to be alone with her idol, her manner alternates between desire and hostility. She may love Jerry but she could just as easily kill him.
And then there’s Rupert Pupkin (Robert De Niro). Rupert is the character who brings Jerry and Masha together. He’s a stand-up comedian, the self-described “king of comedy.” He’s convinced that he can be a star if he can just get on Jerry’s show. Rupert spends his time imagining the great friendship that he and Jerry could have, if only Jerry would let him on TV. In his mind, he plays out the scene in which Jerry begs Rupert to take over the show. Of course, in reality, Rupert lives in his mother’s basement and is surrounded by card-board cutouts of celebs that he will never meet. When we first see Rupert, his only real skill seems to be the ability to get on everyone’s last nerve.
It’s a little hard to believe now but, when De Niro started his career, he almost exclusively played fuck-ups. True, he may have won an Oscar for playing Vito Corleone in The Godfather, Part II. But even while he was playing Vito, he was also playing the erratic and perpetually in debt Johnny Boy in Mean Streets. In Taxi Driver, he was the delusional Travis Bickle and, in Raging Bull, he was a boxer who managed to alienate just about everyone in the world before finally ending up as an obese self-parody. But, out of all the fuck-ups that the young(ish) Robert De Niro played, perhaps none was a bigger fuck-up than Rupert Pupkin.
Rupert Pupkin is a character whose sole purpose in life seems to be to make other people cringe with embarrassment. He is the type of guy who will always come on too strong and say the wrong thing. Even when Rupert manages to meet Jerry, he is so annoying that Jerry can barely wait to get away from him. He is the type who asks if you want to see a picture of his “pride and joy” and then shows you a picture of two bottles of dishwashing liquid. It undoubtedly took some courage to so fully commit to such an off-putting character but that’s exactly what De Niro did. Rupert is perhaps one of the most annoying characters in cinematic history and yet, perhaps because he’s played by Robert De Niro, you can’t help but feel sorry for him. You never exactly like him. But you can’t help but feel a little bit sorry for him. He is just so clueless!
Of course, what Rupert lacks in common sense, he makes up for in ambition. He truly believes that he’s destined to be the king of comedy and if he and Masha have to kidnap Jerry Langford for that to happen, so be it. It is perhaps not surprising that Rupert and Masha would kidnap Jerry and threaten to kill him unless Rupert is invited to appear on the show. What is surprising is the fact, once we finally see Rupert’s act, we discover that it’s not as bad as we were expecting:
Apparently, when the film was first released, there was some controversy over whether or not Rupert actually appeared on TV and became a star or if it was just another of his delusions. What’s funny is that there wouldn’t be any controversy today. In 1983, the idea of someone going to such extremes to be famous may have seemed over-the-top. In 2016, however, we all know Rupert would eventually end up with his own reality show. In its way, The King of Comedy is one of the most prophetic films ever made.
The King of Comedy is a great film that, even after all these years, still deserves to be seen. In fact, it’s probably even more relevant today than when it was first released.
With The Submission of Emma Marx, I have now seen four different variations of Fifty Shades of Grey (2015), including the official version.
Fifty Shades of Grey (2015, dir. Sam Taylor-Johnson)
The official one was only really good for an elementary school sleepover. They showed next to nothing to the point that it was laughable, and Anastasia Steele was the worst English major ever to only name a few problems with the film.
Old Fashioned (2014, dir. Rik Swartzwelder)
Old Fashioned (2014) was one of the most offensive pieces of garbage I’ve sat through all year. If you thought Fifty Shades was bad in its’ portrayal of women, then are you in for a surprise with that movie.
Pleasure or Pain (2013, dir. Zalman King)
Pleasure or Pain (2013) could show more than the official one, but you OD’d on the massive amounts of erotica pretty quickly.
This movie can show everything that the official one couldn’t show and more even in the edited down to softcore version I watched, which was plenty for me. This has a Christian Grey who is willing to be alone in a room with a woman whereas Clay wouldn’t do that in Old Fashioned. Unlike Pleasure or Pain, this does a good job of not overdoing the sex and doesn’t wear out its’ welcome in general. That’s not to say it doesn’t have its’ problems, but it is still the best one I have seen so far.
According to Jacky St. James in X-Rated: The Greatest Adult Movies of All Time (2015), she read the book Fifty Shades of Grey, and was offended at the way the female character was portrayed, so she wrote the script for this movie. That’s a good thing, but it will lead to some stiltedness about the film.
Let’s jump in.
Like a lot of movies, it doesn’t actually begin with the title card I put at the beginning of the review. This one starts and continues like a film noir in that it has a lot of voiceover narration by Emma Marx (Penny Pax). She is getting her butt paddled by this movie’s Christian Grey.
He is William Fredricks who is played by none other than my favorite steak cutter from Erotic Ink (2011).
Erotic Ink/Love Is a… Dangerous Game (2011, dir. Eddie Powell)
That’s Richie Calhoun. No relation that I am aware of to urban cowboy Rory Calhoun.
Angel (1984, dir. Robert Vincent O’Neill)
The voiceover starts off with Emma asking the audience if they are curious about how the person you think you were can vanish and “someone new is born.” It then cuts to the bed with the title card on it. This is a bed made up for a couple who act both as the “normal” opposite of Emma and Mr. Fredricks, but are also there to open the film with a sex scene. But first he proposes to her. However, unlike an opening kill in a slasher movie, this sex scene goes on for an inordinate amount of time. I expected better here. Especially when the rest of the movie does hold itself to a higher standard. I kept track, and it lasts close to 20 minutes. On the upside, it does serve a purpose. It is meant to show you very vanilla sex to contrast with the three other scenes that we get between Emma and Mr. Fredricks.
With that marathon done, Nadia (Riley Reid) decides to shove her engagement ring right in the face of Emma.
I don’t recall exactly what Anastasia was doing going to meet with Grey, but Emma is going to see Mr. Fredricks to complete her masters thesis on gender equality in the workplace. It’s because he hires a disproportionate number of women as employees. To be exact, 97% of his 2,000 employees are women. She says to us that she has interviewed a lot of people “from female executives to male nurses to transgender women battling the glass ceiling.” If you are thinking that line felt a little forced, then you’re right. It’s a little Tasha Yar and Samantha Carter in early episodes of Stargate SG-1. Like the overly long sex scene, it too has a purpose though. It is supposed to make sure that BDSM doesn’t mean a surrender of equality, that she is in somehow being manipulated into it, or that this means she is a pervert/abnormal. We’ll get the same from him. He is also never portrayed as some sort of wounded deviant. They are both intelligent people with their own beliefs, and are always treated as such. Again, it can feel forced at times, but it still works in the end.
Now we meet Mr. Fredricks.
Since they have to save time to actually have sex scenes, they get right to talking about how he likes to be dominant and the enjoyment that can be derived from surrendering control to someone else.
This is probably as good a time as any to mention Penny Pax’s voice. I mentioned that there is voiceover narration throughout this, but I didn’t mention that while Pax does a fine job when onscreen, she really does have a horrible voice for narration. It works for the character and when we can see her, but when it is disembodied, then it gets to you.
The conversation went well for Mr. Fredricks because she goes home and masturbates. She wakes up the next morning to Nadia bringing her a letter from Mr. Fredricks requesting her to take advantage of an opportunity he is going to offer her, but only after she has graduated. He states explicitly that she is not to contact him till then.
We now get a montage of the last four months before her graduation passing by as she ponders how she will respond to giving up control when she lives by such rigid control in her own personal life. That’s when she gets a call from Mr. Fredricks. She wonders where he got her number.
My words exactly.
Finally, the four months pass, so she receives her instructions about where to go and how to be dressed.
I love this set. The table acts as both a distancing device between them because of where they stand at the start,…
and it also keeps an equality between them through its’ symmetry.
It wouldn’t be a Fifty Shades movie if it didn’t have some sort of negotiation scene. The difference is that she actually knows everything in the document. We don’t get stupid questions about butt plugs. In fact, she recognizes that it is “a contract soliciting [her] for a BDSM relationship”. She says that isn’t for her and gets up to leave. However, he reminds her that despite what she is saying, she did show up wearing exactly what he told her too, so he moves in to see if his instincts are right. They are as we know from the scenes that followed this one where she was very excited at this prospect.
I also accidentally caught Penny/Emma with a great surprised look on her face.
Now they have pretty vanilla sex till the very end when he adds a little BDSM element in the form of a tie that goes through her mouth to bind it.
We wake up in bed only to go into a flashback about their further negotiations that they had the night before. They worked out an equitable situation, which includes a job at his company. It lasts for a few minutes, and that is the last we here of it in the movie. Very refreshing when a movie can show what it is supposed to be about, and doesn’t have to pad itself out with stuff like negotiations because it wants to keep its’ R-rating. I love that he explicitly says “I won’t chase you, although, I’ll probably want to.” Not even Clay Walsh in Old Fashioned–a religious Fifty Shades–could do that. He also explicitly tells her that it would be fun to do it at work, but that as soon as work from 8 to 5 is over, she has no obligation to him until the weekends when they really have their fun. I mentioned it before, but at times it does feel forced even though it’s nice to hear.
She finds this whole thing exciting, new, and so unexpected from someone like herself.
Of course it’s no secret that the woman on the right is Jacky St. James making a cameo appearance in her own film. She did the same thing in Erotic Ink, which she didn’t direct, but did write.
Erotic Ink/Love Is a… Dangerous Game (2011, dir. Eddie Powell)
Upon her next visit to his house, he is still easing her way into the world of BDSM, and she likes it.
Emma and William develop a relationship where they both enjoy BDSM that is a metaphor for not being ashamed of who you are, not surrendering your rights as a human being, and not accepting being portrayed or thought of as broken just because other people think you are a deviant. It’s not surprising that this is the theme of The Submission of Emma Marx seeing as it is also present in Erotic Ink. There too, the main character had a judgmental couple who she knew, and another unusual guy played by Richie Calhoun in her life that she was fascinated by. In this film, it’s the soon to be married couple that is judgmental about her decision. However, they seem to get over it, and appear to get married. They too have every right to live their life the way they choose.
Just before Emma and Mr. Fredricks reach mutual happiness, he does throw her out because she begins to tell him that they are both deviants. He doesn’t follow her like he promised. She discovers that there’s nothing really wrong with her after spending time helping Nadia out with her wedding, and returns to him.
Of course Jacky St. James wasn’t going to let the movie end without recreating the most famous shot from Fifty Shades that I included at the beginning of the review.
I recommend this film. It is less of a typical pornographic film, and more of a political statement. If I have to choose between the horrific and abusive Old Fashioned, the tease and somewhat offensive Fifty Shades of Grey, or the endless erotica of Pleasure or Pain, then I’ll take The Submission of Emma Marx. However, I am worried about the sequels seeing as this does feel like a finished story.
A new film directed by Denis Villeneuve and starring Amy Adams!?
There’s no way you can’t be excited about that!
Check out the teaser for Arrival!
Supposedly, the next Resident Evil film is going to be the final chapter!
It even says so right in the title…
I don’t believe it for a second. Resident Evil: The Final Chapter is coming out on January 27th, 2017. I can guarantee that, by no later than August 10th, 2018, I will be sharing a trailer for Resident Evil: A New Beginning.
But until then, here’s the just released trailer for Resident Evil: The Final Chapter!
You know what?
After all the delays and all the negative reviews, I have become rather obsessed with finally getting the chance to actually see Gus Van Sant’s The Sea of Trees. At this point, it really is a case of simply having to know if it’s truly as bad as people have been saying since last year.
Well, it looks like I’m finally going to get a chance! The Sea of Trees finally has a release date here in the States and that date is August 26th!
Here’s the latest trailer for The Sea of Trees:
I haven’t done a Hallmark movie in awhile. It’s been even longer since I did one that I watched on DVD. I only mention it because once again it is difficult to get it to start in VLC, and the close captioning is a little wonky. That leads to some humorous captions. I bring them up in case you go to watch it using VLC, or need to use the close captioning for more than just convenience. This is also the last of the Good Witch movies I have left to review. Let’s dig in.
The movie begins and we immediately join Jake Russell (Chris Potter) as he is doing some window shopping to decide what to get Cassie (Catherine Bell) for Christmas. He’s also doing a bit of foreshadowing.
He spots a guy that he clearly knows, but then Cassie pops up like she always does to say “hi.”
This is as good a time as any to mention that she uses her powers a little more explicitly this time around. It’s not like in a later one where she teleports right in front of a camera. However, she does pop around more, and she makes the doors to her shop open right in front of Jack to the point where he asks her if she installed automatic doors. At least that’s what they say if you can hear. If you can’t, then this is what shows up onscreen.
The next important thing is to find out who that guy was that Jack saw while window shopping. It’s a guy named Leon Deeks (Graham Abbey) who was part of a bank robbery and was recently released after having served his time. The issue is that not only was the money never recovered, but Jack’s son is going out with Deeks’ daughter played by former Degrassi: TNG star Jordan Todosey. It’s interesting that with this film it means that actor Matthew Knight was in a movie with one of the late stage Degrassi: TNG actors, and one of the early ones in Jake Epstein who was in an episode of Matthew Knight’s short-lived TV Show called My Babysitter’s A Vampire.
Deeks of course stops by Cassie’s place, and as usual with new people, she nearly gives him a heart attack by suddenly showing up behind him. He remembers the place when it used to be rundown and is impressed with what she has done. There is an ulterior motive to him looking around the place. It will turn out the unrecovered money from the robbery is under her floor.
Lori (Hannah Endicott-Douglas) makes a return, but really won’t play too much of a role in the film. Mainly when Cassie’s ring goes missing, she runs around looking for it. However, good old quintessential small town busybody Martha Tinsdale (Catherine Disher) is sure around for her plot line.
At the start she is being annoying, making people angry, and really getting into hitting that gavel. She is rejecting a local business’ request to put up a sign to advertise for their business. Her plot line is like the rest in that it will revolve around family, and will resolve with family. It’s what the “Gift” in the title means. The formation or maintenance of family is the central theme around which the plot lines revolve. I do love how at this meeting, which is where we first see her, she manages to piss off everyone at the table. Then she leaves only to be confronted by her husband the mayor who tells her they lost a lot of money, and she needs to get a job as a result.
Catherine Disher really does have that Jim Carrey facial expression thing about her. I love it.
Then we meet Brandon (Matthew Knight) and Jodi Deeks played by Jordan Todosey.
So, we have Cassie and Jack who need to end up getting married to each other. We have Jodi and her father who need to be reunited despite Jodi’s mother fighting against it. It’s understandable because the time he served was ten years on top of committing the crime. We also have Martha who needs survive this bump in the road with her husband. However, we have one last piece of setup.
What do we do with grandpa (Peter MacNeill)? He actually has one of the more subtle ways of having family in his plot line. The woman he met last time at the orchard departs. Since Cassie is going to go and live with Jack in the end, what is going to happen to Grey House?
That’s your setup. The movie is on autopilot now as the plot lines run their course to their happy conclusions. Let’s talk about how these different plot lines all resolve.
The reason for the marriage being rushed is that Jack is getting frustrated that it keeps getting pushed back, so come hell or high water, he’s going to make it happen before Christmas. The marriage runs into a few small speed bumps with finding a preacher at the last minute, getting the wedding together at the last minute, and getting the marriage license also at the last minute. It’s the standard stuff you’d expect. Martha’s husband marries them since he is the mayor. They get the marriage license since Cassie has been around long enough legally that the government says that’s enough to establish an identity. I’m not sure it really works that way, but it’s a movie, and a very minor point that is just there to stall the film a bit.
Martha goes around trying to sell herself as a prospective employee, but she’s pissed off too many people for that to be an easy task.
In the end, she’ll become a party planner. Cassie is the one who suggests this to Martha. In this one, more than others, she seems to be more conscious of these actions to help people. I swear I remember in the past that she treaded the line between some sort of an all knowing being, and a regular human better.
As for grandpa, that’s actually easy. He moves in to take care of Grey House and the B&B with Cassie.
The hard one is getting Jodi and her father back together. That’s really what Cassie puts her mind too. In the end, that works out too, but she has to attack that problem from several angles. Turning the money in is the major step he takes to turn things around for him and his family.
It really has been awhile since I watched other Good Witch movies, but this one felt a little different. I recall the others having a main plot, and several micro-plots around it that really didn’t have any reason to be there. This time around we have the Deeks plot line that has some more importance, but they are all treated rather equally, tie together, and have a central theme. Kind of like a Good Witch version of Signed, Sealed, Delivered: From The Heart (2016) except that it doesn’t have so many plots that it gets overwhelming. This is average, but recommendable as far as Good Witch movies go.
Hi everyone!
So, I just watched the Opening Ceremonies of the 2016 Summer Olympics! And I have to say that I really enjoyed them but then again, I always enjoy the Olympics and not just the gymnastic stuff that everyone loves. It’s odd because I’m really not into sports at all. I guess I just like the idea behind the Olympics. I like the idea of people from all nations gathered together in one country, linked together in the spirit of fair competition and, most importantly, not killing each other.
Plus, I can’t help but love the spectacle of it all!
I figured that, for the duration of the games, I would attempt to post one Olympic-themed film a day. Now, I have to admit that this is one of those things that seemed easier when I was thinking about it then it does now that I’m actually trying to do it. But we’ll see what happens!
Originally, I was going to limit myself to films about the Summer Olympics but then I realized that, by doing that, I wouldn’t be able to write about the 1992 film, The Cutting Edge! And that would be a shame because I really like The Cutting Edge!
The Cutting Edge tells a story that is both thoroughly predictable and yet thoroughly charming at the same time. Doug Dorsey (D.B. Sweeney) is a likable and kinda dorky blue collar guy who also happens to be one of the best hockey players in the world. Kate Moseley (Moira Kelly) is a world-class figure skater who has been totally spoiled by her father (Terry O’Quinn) and whose imperious attitude has managed to alienate every partner that she’s ever had.
At the 1988 Olympics, Doug and Kate run into each other. Literally, they collide with each other in the arena. Doug is apologetic. Kate snaps at him to watch where he’s going. Later, Doug is injured in a game and is forced to retire from hockey. Meanwhile, Kate’s latest partner deliberately drops her during their program and Kate is forced to settle for a silver medal.
Two years pass. Doug is working at a steel mill when he’s approached by a Russian coach named Anton Pamchenko (Roy Dotrice). Anton explains that Kate needs yet another new partner. Desperate to return to the Olympics, Doug agrees to skate with her.
And things go about the way you would expect. At first, Kate hates Doug. But slowly, Doug starts to win her over and Kate starts to lower her defenses and warm up to him. Kate teaches Doug how to be a champion figure skater. Doug teaches Kate how to be nice. Soon, they’re in love but unfortunately, Kate already has a boyfriend — a lawyer named Stuffy Q. McBorington (Dwier Brown).
(Actually, he might not be a lawyer. And his name isn’t Stuffy Q. McBorington. But it might as well be!)
Convincing Kate to leave her boyfriend is actually the easy part. The hard part is going to be winning the gold! Doug still has some rough edges and Kate can still be demanding but they love each other and we all know that love conquers all!
The Cutting Edge is one of those movies that used to be on cable all the time when I was growing up and I always loved watching it! I wanted a boyfriend like Doug and I wanted to wear cute costumes like Kate and I wanted to win a gold medal.
Yes, it’s a totally predictable movie. Not a single moment or line will surprise you. But it’s such a likable movie! Sweeney and Kelly have a really sweet chemistry and the skating action is well-directed and what more can you ask for a romantic comedy about ice skating?
I rewatched The Cutting Edge earlier today.
I still love it!
Enjoy the Olympics, everyone!
I most certainly do know his name. It’s John Rambo. I kept thinking of that fake ad for a Rambo style movie from Grand Theft Auto: Vice City throughout the film.
Take the beginning of Rambo III (1988), and make it the whole movie. That being tracking him down to bring him in, so he can be sent out on a mission. Throw in that surveillance thing from the TV Show Person of Interest. Add a little of the 60 Minutes fueled paranoia about technology that filled the movie Blackhat (2015). Copy the ending of Terminator: Genisys (2015), but make it about swapping out love interests to reboot the franchise. Make sure to shake the camera a bunch, put in unnecessary zooms, and editing that at times gets so frantic you lose track of what is happening. Endless action must be there too since people paid to see spectacle rather than just setup. That’s Jason Bourne in a nutshell. It is a film cobbled together from elements you are already familiar with from other films, you get some action for your money, and then are sequel baited before the credits roll.
Don’t see it in theaters like I did. If you are a big movie lover or an action junkie, then check it out on DVD. If you aren’t, then don’t watch it in any form whatsoever. It’s not worth it for the casual viewer.
That’s my short review, which I know I can’t be the only one who likes to read about a film that is brand new.
Now if you want to hear more about the film, then read on. I will do my best without physical access to the film, or proper screenshots. I refuse to use promotional ones. I want to be able to show you goofs like making an IP Address be internal by being 192 at the start, but still making the second number 256 for no reason at all. They won’t show that kind of thing in promo material. I will also spoil the ending that really isn’t a spoiler. You already know simply by the fact that there are clearly planned sequels that can’t exist without Bourne.
————————–
First, I have to confess that I did not see the last entry in the series. I have seen all the ones before that, but not the Jeremy Renner one. I doubt it makes any difference, but I thought you should know.
The movie starts off the way Casino Royale (2006) does by giving us a recap of Bourne’s previous kills. Just like Bond, it means he is in, and isn’t going to get back out again. That’s when it cuts to him fighting in an organized fight club type thing a la Rambo to get away from it all. At the same time, we are introduced to the two main people who will be chasing after Bourne. That’s Heather Lee played by Alicia Vikander and the director of the CIA played by Tommy Lee Jones.
Bourne is in Greece, which is in turmoil. They get hot his trail very quickly courtesy of Julia Stiles who makes a return, so she can lead Lee to Bourne before making sure she gets shot and killed. No joke. She hacks her way into a system they are monitoring to find Bourne herself, they catch on, they catch up, and she gets shot. There’s your setup for the movie. Bourne is drawn back into things whether he likes it or not while he is being hunted.
The next important thing isn’t really important at all, but will take up time in the movie nonetheless. It’s Tommy Lee Jones harassing a tech giant that he apparently gave money to so that he could start his company. He wants him to put in a backdoor in his very popular social network so that the CIA can spy on everyone. Yes, they do bring up Snowden because of course they do. This part of the story exists in the movie, but honestly plays very little into things except to give a purpose for drawing Bourne into something good rather than simply being the super solider who came in from the cold. It’s how Lee and Tommy Lee Jones handle the situation that tells Bourne where he stands, and sets up the sequel.
At a certain point the action takes over the film completely. Yes, there is quite a bit of fast-paced tracking sequences early on, but by the time the real action starts, you get to see a SWAT van act like a snow plow going down the street knocking cars left and right. I went with two friends, and neither of them could stop talking about the action. Things like “how did they do that” kept coming up. Obviously it’s a mix of practical effects and CGI, but there is just so much of it filled with quick cuts that you are overwhelmed as they were. It made me long for something simple like The Dark Knight (2008). However, I want to make it clear that I never lost a sense of space. That’s a deathblow to action sequences. It’s when the film isn’t shot properly so that instead of understanding the space in which the action takes place and the relation between the characters, you wind up with a bunch of disconnected actions scenes. I never felt that way watching this movie.
In the end, the tech giant is nearly assassinated, but rescued, and only gets shot in the chest. Tommy Lee Jones is killed off in a scene that reminded me of when RoboCop confronted Ronny Cox. Heather Lee is now situated as a go-between Bourne and the people who want to use him. They barely scratch at those special behind the scenes people with some flashbacks and a few documents. I figure that is what we will get a more fleshed out version of in the follow-up films.
That’s my longer review. Bourne walks away not telling Lee how she will get in touch with him. She does get into her car, and picks up some sort of device, but I honestly don’t recall what it was. The point is, she is both the new point-man, and probably a love interest down the road.
If that sounds like something you want to see, then more power to you!
Remember, back in 2014, when I reviewed a horror film called A House Is Not A Home? Well, if you don’t, I’ll remind you what I thought about the film in a second. But first, I wanted to let you know that A House Is Not A Home not only has a brand new and super intense poster (seen above) but it also has a release date!
Following a limited theatrical run, MVD Entertainment Group will be releasing A House Is Not A Home on DVD and digital platforms on September 27th! Directed by Christopher Douglas-Olen Ray and starring Bill Cobbs, Richard Grieco, Eddie Steeples, Aurora Perrineau, Diahnna Nicole Baxter, Gerald Webb, and Melvin Gregg, A House Is Not A Home premiered at the Burbank International Film Festival, where it picked up the award for Best Horror Feature!
You can order a copy of A House Is Not A Home from amazon or at the MVD Shop.
You can check out my review by clicking here. If you don’t have time to check out my review, I’ll give you the short version: A House Is Not A Home is an atmospheric, well-acted, and entertaining horror film. It’s an effectively creepy film and features a genuinely interesting exorcism scene. As I said at the end of my review, the film’s dream-like and horrific atmosphere compares to the best of Lucio Fulci.
Finally, to quote directly from my review:
“A House Is Not A Home is one of the few non-comedic films that I’ve seen recently that featured an almost entirely African-American cast. That’s really saying something when you consider that I literally watch hundreds of films a year. At a time when mainstream filmmaking (and the horror genre in particular) still seems to be struggling to break free from racial stereotyping, A House Is Not A Home is definitely a step in the right direction.”
I wrote that two years ago. I’m glad to see that now everyone else will have a chance to discover A House Is Not A Home for themselves!
Here’s the film’s trailer:
Through the Shattered Lens